Pascale Ferran

French director, born in 1960 in Paris.

After directing her first short film, Pascale Ferran attended the IDHEC in 1980 where she met Arnaud Desplechin and Pierre Trividic, with whom she would later regularly collaborate. She then alternated between an activity as an assistant and scriptwriter, while directing a number of short films, including the renowned Le Baiser in 1990. Her first feature, Coming to Terms with the Dead, obtained the Caméra d’Or in Cannes in 1994. The Age of Possibilities followed, written for the apprentice actors at the Ecole du Théâtre National de Strasbourg. In 1999, she directed the dubbing of the French version of Stanley Kubrick’s Eyes Wide Shut. Her adaptation of Lady Chatterley, based on D.H. Lawrence’s novel, garnered numerous awards including the Prix Louis Delluc and five Césars in 2007. Her latest film, Bird People, was presented in Cannes in 2014 in the Un Certain Regard section.

Photo © Carole Béthuel
Coming to terms with the dead (1994) – The Age of Potential (1996) – Sam Rivers / Tony Hymas : Quatre jours à Ocoee (documentary, 2001) – Lady Chatterley (2006) – Bird People (2014)

Their list of films

Bonus exclusive content

See special feature
Pascale Ferran
about The Gremlins
of Joe Dante
This is a jubilant movie for children which tells us: something that we love is always dangerous.
See special feature
Pascale Ferran
about Cat People
of Jacques Tourneur
Le film est absolument hanté, plan après plan, par la question de la dualité
See special feature
Pascale Ferran
about Scenes from a marriage (TV version) - Episode 1
of Ingmar Bergman
Ce qui est très beau, c’est que Bergman arrive à rendre visibles les choses invisibles des rapports entre les deux personnages.
See special feature
Pascale Ferran
about Scenes from a Marriage (TV version) - Episode 3
of Ingmar Bergman
Ce qui est très beau, c’est que Bergman arrive à rendre visibles les choses invisibles des rapports entre les deux personnages.
See special feature
Pascale Ferran
about Scenes from a Marriage (TV version) - Episode 4
of Ingmar Bergman
Ce qui est très beau, c’est que Bergman arrive à rendre visibles les choses invisibles des rapports entre les deux personnages.
See special feature
Pascale Ferran
about Scenes from a Marriage (TV version) - Episode 2
of Ingmar Bergman
Ce qui est très beau, c’est que Bergman arrive à rendre visibles les choses invisibles des rapports entre les deux personnages.
See special feature
Pascale Ferran
about Scenes from a Marriage (TV version) - Episode 5
of Ingmar Bergman
Ce qui est très beau, c’est que Bergman arrive à rendre visibles les choses invisibles des rapports entre les deux personnages.
See special feature
Pascale Ferran
about Scenes from a Marriage (TV version) - Episode 6
of Ingmar Bergman
Ce qui est très beau, c’est que Bergman arrive à rendre visibles les choses invisibles des rapports entre les deux personnages.
See special feature
Pascale Ferran
about Scenes from a Marriage (theatrical)
of Ingmar Bergman
What is beautiful is how Bergman gets to make visible the invisible things of the relationship between two characters.
See special feature
Pascale Ferran
about Coming to Terms with the Dead
of Pascale Ferran
Sur mon premier court-métrage, j’ai eu cette impression très marquante et décisive d’être chez moi sur un plateau.
See special feature
Pascale Ferran
about Psycho
of Alfred Hitchcock
J'ai été frappée par le nombre de scènes et de plans qui s'étaient imprimés dans ma rétine, à vie.
See special feature
Pascale Ferran
about My American Uncle
of Alain Resnais
This is the great model of a story that combines theory and fiction, while weaving a third threadon how imagination constitutes us.
See special feature
Pascale Ferran
about Beauty and the Beast
of Jean Cocteau
The closest director to Cocteau is Hitchcock - at the same time by the permanent visual invention and by the question of suspense.
See special feature
Pascale Ferran
about Masculin feminin
of Jean-Luc Godard
Il invente quelque chose qui n'est ni de la fiction, ni du documentaire, est qui est une sorte d'au-delà de ces deux choses-là.
See special feature
Pascale Ferran
about Every Man for Himself
of Jean-Luc Godard
As from the 1970's, Godard is more like a philosopher through cinema rather than a basic storyteller. How is it possible to be as visionary as this movie was 35 years ago?